Voice Leading and Chord Progressions Glossary

A non-chord tone that sounds a note of the upcoming chord before that chord arrives, typically unaccented.

A non-chord tone approached by leap and resolved by step, typically accented on a strong beat.

A predominant chord containing an augmented sixth interval that resolves outward to the dominant. Three types: Italian, French, German.

A V-I or V7-I progression at the end of a phrase. Perfect authentic (PAC) requires root position and tonic in soprano; imperfect authentic (IAC) lacks one condition.

A V-vi progression that surprises the listener by resolving to vi instead of the expected I.

Two voices arriving at a perfect fifth or octave through similar motion, especially with the soprano leaping. Generally avoided between outer voices.

A non-chord tone approached by step and left by leap in the opposite direction.

A phrase ending on the dominant (V) chord, creating an incomplete or open sound.

The rate of chord changes in a passage. Faster harmonic rhythm (more chord changes per beat) increases harmonic momentum.

The practice of borrowing chords from the parallel major or minor key to add harmonic color without modulating.

A change of key that is confirmed by a cadence in the new key and sustained for a significant passage.

A major triad built on the lowered second scale degree, typically in first inversion (N6), functioning as a predominant chord.

A non-chord tone that steps away from a chord tone (upper or lower) and returns to it by step.

Two voices moving in the same direction while both maintaining a perfect fifth apart. Forbidden in traditional four-part writing.

Two voices moving in the same direction while both maintaining a perfect octave apart. Forbidden because it reduces voice independence.

A non-chord tone that moves by step between two chord tones in the same direction, filling a melodic gap.

A two-phrase structure where the antecedent ends with a weaker cadence and the consequent ends with a stronger cadence.

A chord that is diatonic in both the old and new keys, serving as the connecting point in a smooth modulation.

A IV-I progression often called the Amen cadence. Provides gentle, hymn-like closure.

Four-part writing for Soprano, Alto, Tenor, and Bass voices, the standard texture for chorale-style voice leading.

A chord that temporarily functions as V of a diatonic chord other than the tonic, creating brief tonicization. Written V/x.

A phrase structure typically following a 2+2+4 bar pattern: basic idea, repetition or variation, and continuation leading to cadence.

A non-chord tone that is prepared (consonant), held over (suspended as dissonance), then resolved downward by step.

A brief, temporary emphasis on a non-tonic chord using a secondary dominant or leading-tone chord, without establishing a new key.

The art of moving individual melodic lines (voices) smoothly from one chord to the next, minimizing leaps and avoiding forbidden parallels.